Pagtuki sa Binalaybay: A Stylistic Analysis of Sebuano ... · language figures of speech in Indonesia termed as majas or gaya bahasa, Maggay (2002) Pahiwatig: ... (N) as the Philippines,

CASS Langkit Journal, MSU-Iligan Institute of Technology, Philippines Vol. 06 (2015-2016)

Pagtuki sa Binalaybay: A Stylistic Analysis of Sebuano Figurative

Language in Iligan National Writers Workshop’s Sebuano Poems Kimberly Jhie Alejandrino12

Abstract

The place of poetry in Sebuano culture is central. Yet, no adequate

compendium of poetry in Sebuano exists despite the abundant number

of figurative expressions present in Sebuano, an Austronesian language

spoken as a native language by a majority of the people in the

Philippines. This study intends to discover which expressions in

Sebuano poems are figurative through markers that indicate a non-

literal interpretation, and which traditionally-introduced categories are

most commonly used among these expressions found in Sebuano

poetry. The corpus of this paper are Sebuano poems found in the Poetry

section of Volumes 1 to 20 (1994 to 2013) proceedings of the Iligan

National Writers Workshop, a pioneering literary development in

Mindanao after the two leading workshops in the country, namely that

of University of the Philippines and Silliman.

The data was analyzed in terms of (a) Levin’s linguistic deviation (b)

McArthur and Perrine’s markers of figurativeness and (c)

categorization and characterization of figurative language. The study

found that while there are those expressions that fall under the

categories namely: metaphor, personification, simile, hyperbole,

onomatopoeia, and synecdoche; there are, however, recurring patterns

of Sebuano figurative expressions that defy categorization and are

referred to by the researchers as ‘Emerging Sebuano Figurative

Language Categories.’ This paper explores the depths and complexities

of Sebuano figurative language and presents these findings as a

preliminary description of Sebuano figurative language.

Key Words: Sebuano, linguistic deviation, markers of figurativeness, tone, figurative

language

12 The author finished her Bachelor of Arts in English from MSU-Iligan Institute of Technology (MSU-

IIT) and is currently the Graduate Teaching Assistant of the PhD Language Studies and Culture and Arts

programs of the College of Arts and Social Sciences, MSU-IIT.

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INTRODUCTION

We, Filipinos, are lovers of beauty - both the physical and the inner. In

appreciation, we try to encapsulate situations and emotions through resourcefully

using our words, thus composing some of the most eloquent and unpredictable lines

there are. We turn to figurative language simply because has its different styles and

forms that help artistically and inventively emphasize our certain experiences through

language.

Figurative language does not only occur in English but in other languages as

well. Indonesian linguist, Muliono (1989), introduces the equivalent for English

language figures of speech in Indonesia termed as majas or gaya bahasa, Maggay

(2002) Pahiwatig: Kagawiang Pangkomunikasyon ng Filipino, refers to the Filipino

figures of speech as tayutay and for idioms as idyoma or bulaklak ng dila. Just like

the English language, Filipino language also has figurative language categories,

namely: pagtutulad for simile, pagwawangis for metaphor, pagsasatao for

personification, pagmamalabis for hyperbole, pagpapalit-saklaw for synecdoche, and

paghihimig for onomatopoeia. Although researches on figurative language in Filipino

contexts have been done, not much research on the structure and form of Sebuano has

been conducted. It is for this reason that the researchers found interest in dissecting

the encoding, characterization and categorization of figurative language particularly

present in the poetry of Sebuano -- which is rich in the use of figures of speech and

reflect day to day discourses of a majority of people in Visayas and Mindanao.

Based on the phenomenon, it is interesting to identify the markers of

figurativeness, and linguistic trends per category which Sebuano figurative language

share; and, aside from the traditionally-introduced categories of figurative language,

present a novel material of the encoding, characterization, and classification of

Sebuano figurative language in Sebuano poems.

The study is aimed to produce material that primarily focuses on Sebuano

figurative language. Based on the background, the following questions were

answered through this study: (1) Which Sebuano expressions in the poems from the

proceedings of the Iligan National Writers Workshops are figurative? (2) What

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traditionally-introduced figurative language categories are most commonly used

among the figurative Sebuano expressions found in Sebuano poetry? (3) What are the

markers of figurativeness that indicate a non-literal interpretation? (4) What are the

emerging Sebuano figurative language categories?

The study aims to present a preliminary description of Sebuano figurative

language and present emerging categories specifically available for Sebuano poetry’s

figurative expressions. (2) Further, it aims to be useful for the creation of a new

material that focuses on figurative language expressed in Sebuano literature

particularly in poetry.

To add more clarity to the flow of this study, the schematic diagram that

follows, shows that Sebuano literature specifically poetry, contains expressions

which particularly use figurative language. Non-literal expressions were recognized

through the figurative language theory, Linguistic Deviation by Levin (1969). All

expressions with markers of figurativeness—referred to as lexical, semantic and

syntactic markers were analyzed as to how they were encoded and categorized

(McArthur & Perrine, 1982 & 1992). This categorization also led to the identification

of which traditionally-introduced categories the Sebuano expressions fall into. The

researchers, further identified the emergence of Sebuano figurative language

categories for those that do not fall under the traditionally-introduced categories.

Figure 1. Schematic Diagram of the Conceptual Framework

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METHODOLOGY

This study basically followed exploratory research design and a systematic

stylistic analysis of the figurative language in a Sebuano poem through linguistic

description. As such, the researchers followed a 4-phase analysis: beginning with the (1) recognition of figurative language in selected Sebuano poems through (a)

linguistic deviance (Levin, 1969), (b) sentence patterns of Philippine languages

(Constantino, 2007), and (c) syntactic, semantic, phonological, orthographical, and

lexical markers (McArthur, 1992); followed by the (2) isolation of lines which show

figurativeness and then these were subjected to the analysis of the presence of

figurative markers and categorized; (3) linguistic trends were then further analyzed

by category; finally, (4) the lines that defied categorization were labeled Sebuano

Figurative language and were again thematically analyzed based on characterization

and classification.

Corpus of the Study. The corpus of the study is focused on figurative language

exclusively found in Sebuano literature. The preliminary data used were proceedings

of the Iligan National Writers’ Workshop (INWW), from Volumes 1 to 20 published

from 1994 to 2013. Iligan National Writers Workshop (INWW) came after the two

leading workshops in the entire country, namely, the University of the Philippines’

National Summer Writers Workshop and Silliman Writers Workshop (Lumbera,

1994).

RESULTS AND DISCUSSIONS

Markers of Figurativeness. Each figurative expression was classified and

analyzed by the researchers through markers of figurativeness. As discussed by

McArthur (1992), the figures, or referred to as ‘markers’ by the researchers, that

displayed prevalence among the Sebuano poems of INWW are the following: (1)

syntactic, (2) lexical, and (3) phonological.

Images. (a) Anatomical images (A) are employed in expressions that make

use of body parts in order to put forward an action or a description that is not usually

collocated with that body part; (b) Conceptual images (C) give an implication that

there is a need to make use of intangible objects to be able to have a better grasp of

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an experience. These conceptual images are heavily influenced with and by culture; (c) Celestial images (CS) often symbolize things and persons in their poems that are

distant, or entities that give fascination to anybody who looks at them from below;

(d) Geographical images (G) give a specificity of locale and in order to understand

why they are employed in the expression, the reader must be able to contextualize

with the period of time when this specific place is relevant; (e) Meteorological

images (M) often enable the reader to relate to the differences in the occurrences in

the atmosphere and weather; (f) Natural images (N) as the Philippines, being rich in

natural resources, have afforded the writers to make use of different elements of

nature; (g) Objects (O) which rely on the common realities of a people that turn a

seemingly unimportant thing into a symbol that evokes a certain feeling; and (h)

Temporal images (T) help the readers depict the setting they see themselves in as

they experience the poetry. These images give an impression of how the users of the

language have a certain consciousness of time.

The table below shows the percentage of images employed in the figurative

expressions of the Sebuano poems used in this study.

Table 1. Percentage of Images employed per Figurative Language Category

Figurative

(A)

(C)

(CS)

(G)

(M)

(N)

(O)

(T)

Language

Category

Metaphor 23.08% 35.90% 6.41% 1.28% 2.56% 8.97% 16.67% 5.13%

Personification 16.67% 31.94% 13.89% 2.78% ------- 16.67% 9.72% 8.33%

Simile 18.87% 20.75% 3.77% 1.89% 1.89% 28.30% 22.64% 1.89%

Hyperbole 26.67% 40.00% 13.33% 6.67% 6.67% --------- --------- 6.67%

Synecdoche 50.00% --------- --------- --------- -------- --------- 50.00% --------

Onomatopoeia 35.71% 35.71% --------- --------- -------- --------- 28.57% -------- Emerging 17.39% 36.96% 17.39% --------- 6.52% 10.87% 6.52% 10.87%

Sebuano FLC

SEBUANO METAPHOR. Metaphor is a figure of speech in which a

comparison is made between two things, which are essentially different. It is made

literally either by a verb, or less obviously, by a combination of adjective and noun,

noun and verb, etc. In any case, similarity is not pointed out by using words such as

“as,” “like,” or “than” (Nofal, 2011).

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Sebuano Metaphor Structure. Sebuano metaphors generally mark the

figurativeness of expressions through stating one entity in terms of another or

through modifying an entity’s form, shape, size, taste, or state-of-being. The analysis

of this study reveals that there are two forms of Sebuano Metaphor— (a) clausal and (b) phrasal metaphors.

(a) Clausal Sebuano Metaphors. Metaphors under this classification usually

achieve figurativeness by turning an entity into an unexpected figure. Human

and human body parts are turned into conceptual images or celestial images.

Further analysis of this study reveals that clausal metaphors, are determined

by its recurring patterns linguistically. Clausal metaphor expressions are

usually non-verbal sentences and nominal; typically, the head of the

predicate is a noun. In such instances, the expressions are composed of two

constituents—two noun phrases which yield the figurative expression

equational.

As shown in the first example, Palapar’s Lalaki ug Babaye (10th INWW-v10-

2003), the lines

‘Ikaw ang tingog nga madunggan sa tanan. Ako ang

tingog sulod sa imong ulo. Ako imong kalag. Ikaw akong

kadasig. Kitang duha ang tanom ug ang yuta’

show an evident comparison moving back and forth from a man to a woman as voice,

as soul, as perseverance, and as plant and soil. The poem suggests the mutual need of

one another— for someone to speak and someone to persevere, and so on. For

without the woman or the man’s presence, they will remain like plants uprooted and

will not be of use until placed back in its ground where they could have essentially

grown.

In the second example, Munez’ Mubong Higayon (18th INWW-v18-2011), the line:

‘Niadtong gabhiona, ang iyang lawas bituon sa akong mga

mata’

achieves figurativeness by looking at an anatomical image as a celestial image. Such

intimate sexual gratification enables the persona to compare the anatomical bodies

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with celestial bodies, specifically stars, which he views as equally striking and is

remarkable to his experience. Likewise, his experience with the woman’s body that

lasted only for a short time, as the title Mubong Higayon suggests, may be

represented stars in his view for that moment and only in his memory forever.

Table 2. Metaphor expressions (Clausal)

(1) Ikaw1 ang tingog

2 nga madunggan

3 sa tanan

4.

Ako ang tingog sulod sa imong ulo5.

Ako imong kalag6, Ikaw akong kadasig7,

Kitang duha ang tanom8 ug ang yuta9.

(Lalaki ug Babaye, Haidee Emmie K. Palapar, 10th INWW-v10-2003)

ANALYSIS

NOUN PHRASE DETERMINER NOUN

TRANSLATION

Ikaw Ang tingog nga madunggan sa tanan 1You 2Voice

Ako ang tingog sulod sa imong ulo 3from RW

Ikaw akong kadasig dungog—hear

Kita duha tanom ug yuta 4All 5Head 6Soul 7Perseverance

8Plant 9Soil,

ground (2) Niadtong gabhiona, ang iyang lawas1 bituon2 sa akong mga mata3

(Mubong Higayon, Glenn Tek-ing Munez, 18th INWW-v18-2011)

Iyang lawas sa akong mata Bituon 1Body 2Star 3Eye

(b) Phrasal Sebuano Metaphors. Metaphors under this classification usually

achieve figurativeness by using an entity’s form or state-of-being to modify

another, or using a certain entity to become a unit of another entity. Phrasal

metaphors are not usually used in traditionally-introduced metaphors but are

of prevalence in Sebuano metaphors. (b.1) Adjectival Phrase. Phrasal metaphor expressions are depicted through

the use of attributive adjectives (adj.) in relation to an entity’s form, shape,

size, taste, or state-of-being to modify the meaning of the noun (n.) or the

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other entity which precedes or follows it. In many cases, nouns are morphed

into adjectives with the addition of a ligative particle –g or –ng.

In the first example shown in the table that follows, Durado’s Pansit (3rd

INWW-v3-1996), ‘Gipuga sa atong bintana ang nalimonsitong buwan,’ shows that

the figurativeness is achieved by using two distinct entities, limonsito and buwan and

turning these two entities into a phrasal metaphor. As also mentioned in the

commentaries section of the 3rd INWW proceedings, the wife, is symbolized as the

moon who is filled with mysteries. With the aid of the attributive adjective,

nalimonsito from the word limonsito, the wife becomes like one who is flavored , or

tastes sour, squeezed by a window, which symbolizes her husband, because of the

experiences she has with him every night as he is already sick of her cooking of the

dish, pansit.

Table 3. Metaphor expressions (Adjectival Phrases)

(1)Samtang sa nagkamantika1 Nimong danguynguy2

Gipuga3 sa atong bintana4 ang nalimonsitong5 buwan

6.

(Pansit, Adonis Gesta Durado, 3rd INWW-v3-1996) NOUN PHRASE TRANSLATION

ATTRIBUTIVE ADJECTIVE NOUN Nalimonsitong Buwan

1from RW mantika –

cooking oil 2Weep

-from limonsito (n. used as adj.)

-form or taste modifies the n. it follows 3Squeeze 4Window 5 from RW lemonsito—Lemon

6Moon

(2) Putlon1 pa gyud kanang bag-ong

2dahong

3 ambisyon

4

sa haruhay5 nga kinabuhing

6 mingsalingsing

7 pag-inanay

8

(Unsaon Pagbonsai ang mga Damgo, Orlando Cajegas, 6th INWW-v6-1999) Dahong Ambisyon 1from RW putol—cut

-from

2New 3Leaf 4Ambition

dahon (n. used as adj.)

-form modifies the n. it follows 5Comfortable 6Life

7Outgrowth 8Gradual

In the second example, Cajegas’ Unsaon Pagbonsai ang mga Damgo (6th

INWW-v6-1999) inthe lines, ‘Putlon pa gyud kanang bag-ong dahong ambisyon,’

illustrates that the writer metaphorically relates two distinct entities —dahon and

ambisyon and uses these two as a phrasal metaphor. The persona of the poemsees the

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ambitions of a person as leaves that need to be cut when it outgrows gradually from

its pot. In here, the leaves’ form that uncontrollably grows without trimming is seen

by the speaker as a dream that needs to be reduced so as not to be ambitious in order

for it to become achievable.

(b.2) Noun Phrase (Noun plus Prepositional Phrase).Some phrasal

metaphors exhibit internal complexity. This is seen in metaphors that use Noun

Phrases (NP) containing Nouns (N) and Prepositional Phrases (PP), such as the

examples below:

N PP N PP

salisi [sa akong pagtagad] tapsing [sa atong paghinigalaay]

taligsik [sa atong pagbati] minteryu [sa kalimot]

lawod [sa kasakit] dahon [sa paglaom]

A noun phrase is usually made up of a noun combined with a complement,

which is a prepositional phrase—linguistically deviant from the usual combination of

metaphors, which, according to Nofal (2011), is usually achieved through adjective

and noun, noun and verb, etc. The prepositional phrase is particularly a conceptual

image or intangible entity. In such case, when one entityis associated with a

conceptual image, the former (n.) becomes a unit of the latter (complement), and the

comparison is achieved.

The table on the next page shows the images in this type of metaphor which

are employed through noun phrases.

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Table 4. Metaphor expressions (Noun Phrases)

(1) Wala kay kahadlok1 moguwa sa imong Gipasilongan

2 kay pagtuo

3

Nimo dili ka mabasa4 Sa gagmayng

5taligsik

6 sa akongPagbati

7 kanimo.

(Alindahaw, Haidee Emmie K. Palapar, 10th INWW-v10-2003)

ANALYSIS

NOUN PREPOSITIONAL PHRASE TRANSLATION

PHRASE

PREP CONCEPTUAL IMAGE

Taligsik sa Pagbati 1Fear 2Shelter 3Belief 4from RW basa –

wet 5Small 6Mist 7Feelings

(2) masulob-ong1 paglubong2 sa balak 3 sa kanhi4 hinigugma 5 didto sa minteryu

6 sa kalimot

7.

(Gozos sa mga Buhi, Orlanda Cajegas, 5th INWW-v5-1998) Minteryu sa Kalimot 1Downhearted 2from RW lubong – bury

3Poem 4Former 5from RW gugma – love

6Cemetery 7Forgetfulness

In the first example, the lines from Palapar’s Alindahaw (10th INWW-v10-

2003), ‘Kay pagtuo nimo dili ka mabasa sa gagmayng taligsik sa akong pagbati kanimo’,

convey the writer’s idea of a drizzle as a unit of a larger body of affection (in this

case, a rain of affection) he has towards another. The idea is that his affection is

understated and cannot be simply distinguished by the one he loves. This brings us a

more vivid picture of affection stated in an unexpected manner.

In the second example, the lines from Cajegas’ Gozos sa mga Buhi (5th INWW-v5-1998), ‘Paglubong sa balak sa kanhi hinigugma didto sa minteryu sa kalimot’,

depicts how the writer conveys a certain place, minteryu, as a unit of a larger body or

avenue of forgetfulness which he tries to place his love for his former lover.

SEBUANO PERSONIFICATION. Personification is an “anthropomorphic” figure of speech where the poet describes an abstraction, a thing,

or a non-human form as if it were a person (Nofal, 2011).

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Sebuano Personification Structure. Sebuano personification expressions

generally mark the figurativeness of expressions in poetry as non-human/inanimate

entities are assigned with human attributes or anatomical images. Additionally,

included in this category are those non-human/inanimate entities that take on human

actions. The analysis of this study also reveals that in Sebuano personification, there

are instances when non-human/inanimate entities are personified simply through

human actions directed towards these entities. This is achieved through strategies of

employment of contextual images associated with a playful use of human attributes

and actions and with different linguistic encodings. The analysis of this study reveals

that there are two forms of Sebuano Personification— traditional and non-traditional.

(a) Traditional Personification Expressions. Traditionally, personification

occurs when an abstraction, thing or non-human is represented as a person.

The two different strategies employed on how this representation is made

possible are as follows:

(a.1) Non-human Entities with Human Attributes and Anatomical Images.

Included in the traditional form of personification are those that employ non-

human/inanimate entities in noun phrases combined with adjectives attributed and

exclusive to human beings. In the first example which are lines from Acaylar’s

Babaye (3rd INWW-v3-1996), ‘Hinaag, wala pangayo -a ning kalibotan nga makalibog,

uyamot’, the figurativeness is achieved by assigning human attributes, exclusive to

humans, to the entity kalibotan. The persona tries to convey his thoughts that the

world is poor and confusing; when in fact, the world is just an inanimate entity

without the people and other living entities on it. This may also reveal that what the

writer is trying to convey is the relationship of the world as the entirety of human beings present on it, who themselves, are confusing and poor.

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Table 5. Personification expressions (Human attributes assigned to

inanimate entities)

(1) Hinaag1, wala pangayo-a2 Ni’ng kalibotan3 nga makalibog

4

uyamot5. (Babaye, Rachel Acaylar, 3rd INWW-v3-1996)

ANALYSIS

TRANSLATION

NOUN PHRASE ADJECTIVES

Ning kalibotan

Makalibog, uyamot

1Stray 2Ask for 3World

-inanimate entity -human attributes 4from RW libog—

confuse 5Poor

Another interesting use of anatomical images is their assignment to mostly

natural and celestial images which yields personification of the images being

described. Such instances are shown in the following lines in Table 6 on the next

page.

Table 6. Personification expressions (Anatomical images assigned to

inanimate entities)

(1) Lawom1 ang kagabhion2 tugkaron3 kay dinhi kita manukad4sa abaga5 ning

bukid6. (Mountain Top, Noel D. Rama, 4th INWW-v4-1997) ANALYSIS

ANATOMICAL IMAGE DET NOUN TRANSLATION

Abaga Ning bukid 1Deep 2Night 3Touch

-human body part assigned to inanimate entity (n.) the bottom 4Set out

5Shoulder 6Mountain

(2) Kay ang mga isda2 ga iyahay

3 Sa lapa lapa

4 sa lawud

5gataguanay

6.

(Ginamos ug ang Kinabuhing Daplig-Dagat, Cheryll Dirige Fiel, 9th

INWW-v9-2002) Lapa lapa Sa lawud 1Father 2Fish 3from

-human body part assigned to inanimate entity (n.) RW iya--denotes

ownership 4Sole 5Ocean 6from RW

tago—hide

In the first and second examples above, anatomical images such as abaga

and lapa lapa, are assigned to natural images bukid and lawud. Abaga, for example,

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may denote a high peak when associated with bukid. Lapa lapa, in the same way,

may denote the bottom part of the ocean like that of the soles of our feet. With the

presence of these anatomical images assigned to non-human/inanimate entities, the

images are personified, and the overall figurativeness of the expressions is achieved.

(a.2) Predicative Construction. Linguistic deviations from Philippine

language patterns are evident in verbal sentences and predicative constructions of

Personification expressions—consisting of simple clauses having two immediate

constituents, one of which is the subject, the other as predicate, in any order. The

noun is the sentence head, where the actor subject (act subj.) does the verb which is a

human action. The deviation lies on the actor subject being non-human/inanimate

taking human actions. Further, noun markers for humans such as nila, sila, imong, ni,

si are employed as if the non-human/inanimate entities are persons.

Table 7. Personification expressions (Predicative construction)

(1) Nag-abot1 ang unang2 tuktugaok3 sa talisayon4 ug ulahing5 lupad6 sa kabog7. Lagmit,

nakigkita 8 ang kadlawon

9 sa buntag

10. (Tigulang nga Nagkugos og Puya, Gratian Paul R.

Tidor, 17th INWW-v17-2010) Nakigkita..sa Ang Kadlawon 1Meet 2First 3Cock-a-doodle-doo

buntag -act subj. 4Rooster 5Last 6Flight 7Fruitbat

-human action -non-human 8from RW kita—see 9Dawn

10Morning (2) Naniid1 lang ko nimo dinhi sa suok2

samtang3 gaugom4 sa mga giuhaw

5 nakong mga pangutana

6.

(Pagkatagak, Glenn Tek-ing Munez, 18th INWW-v18-2011) Giuhaw Nakong mga pangutana 1Observe 2Corner 3While 4Hoard

-human action -act subj. in mouth 5from RW uhaw – thirst

-non-human 6Question

(3) sa dihang mamakak1 na ang imong panumdoman2 ug mupapas3 na ang atong mga pahiyom4

(Piktyur, Ma. Carmie Flor I. Ortego, 20th INWW- v20-2013)

In the first example, the lines from Tidor’s Tigulang Nga Nagkugos og Puya

(17th INWW-v17-2010), ‘Lagmit, nakigkita ang kadlawon sa buntag’, personification is

interestingly employed by the writer to convey the picture of a sunrise. The meeting

of the dawn and the morning— like two human beings who meet, result to an image

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of another day that is about to begin for the old man to take care of the little child left

to him by the child’s parents, and the cycle continues everyday.

In the second example, lines from Ortego’s Piktyur (20th INWW-v20-2013), ‘Ug sa dihang mamakak na ang imong panumdoman ug mupapas na ang atong mga

pahiyom’, depict a volitional human action of an entity, panumdoman, or memory, as

though it lies when actually, memories cannot perform such action because this entity

is conceptual. The writer conveys this image as to a person or a loved one who no

longer allows the establishment of the truth, particularly, of the once blissful memory

they used to have.

(b) Non-traditional Personification Expressions. The analysis of this study

reveals that aside from these traditional forms of Personification expressions, there is

a non-traditional form which occurs when human actions are done towards

conceptual images but these images are not capable of doing the actions. This is

depicted through predicative constructions; however, the predicate becomes the

sentence head and animates the entity of which the predicate is directed. The

conceptual image, then receives the attribute of the predicate; thus, becomes

personified. In this case, there is no necessary need for a non-human entity to be

assigned with human attributes or actions; but, the presence of a human action done

towards a certain entity yields the overall expression personified.

Table 8. Personification expressions (Non-traditional)

(1) buot1gakson

2 ang matag

3 takna

4ug kon mahimo

5 pa lang

tukod6 ang gaway

7 sa orasan

8 kon buot nimong molingiw

9

(buot, Jessrel E. Gilbuena, 19th INWW-v19-2012) ANALYSIS TRANSLATION

VERB PHRASE DET NOUN PHRASE Gakson Ang matag takna 1Want 2from RW gakos—

-human action -conceptual image hug 3Every 4Moment 5Do

6Brace 7Hand 8Clock

9from RW lingiw— look

away

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Table 8. (Cont’d.)

(2) Dali, Pinangga 1, agaka2 akong pangandoy3 kay gakson4 ko’ng Imong tinguha5 (Unsay Pulos, Pinangga?!, Amelia C. Bojo, 20th INWW-v20-2013)

Agaka Akong Pangandoy 1Dear 2Guide 3Aspiration

-human action Kong -conceptual image 4from RW gakos—hug

Gakson imong tinguha 5Aims

-human action -conceptual image

In the first example, Gilbuena’s Buot (19th INWW-v19-2012) the line, Buot

gakson ang matag takna’, depicts a volitional human action done towards the

conceptual image, takna or moment. This does not necessarily mean that the entity

takna is personified but with a volitional action gakos or hug done towards this

entity, the overall expression achieves figurativeness, still through the concept of

personification. In this poem, the persona conveys his desire to savor every moment

he has with the person whom he does not want to be apart from him.

The lines ‘Agaka akong pangandoy kay gaksonkong imong tinguha’ from Bojo’s

Unsay Pulos Pinangga?! (20th INWW-v20-2013) captivatingly employs human

actions directed towards conceptual entities. The persona in this poem asks another to

guide his aspirations while he embraces the aims of that person. Aspirations and

aims, in this case, are not necessarily personified; but the human actions, to guide and

to embrace, directed towards these entities reveal personification, in a different

strategic manner by the writer.

SEBUANO SIMILE. Simile is a figure of speech in which a comparison

expressed by the specific use of word or a phrase such as like, as, than, seem or as if

(Nofal, 2011).

Sebuano Simile Structure. Sebuano similes are the most obvious type of

figurative expression as these employ lexical markers that signal the comparison

being made with the entities, or referred to as lexical marker for comparison (LMOC)

in this study. They generally mark the figurativeness of expressions in poetry through

one image descriptively described and then likened to another image through several

Sebuano terms such as ‘sama,’ equivalent to English ‘as;’ ‘daw’ to ‘seems;’ ‘mura’

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to ‘like;’ ‘pareho’ to ‘the same;’ and ‘halos wala’y kalainan or ‘wala’y kalainan,’

equivalent to ‘almost no difference’ or ‘no difference’ respectively. The overall

figurativeness of expressions under this category is achieved through strategies of

employment of images used as comparison to another entity - sometimes unexpected

to have any relation to the former entity.

LMOC may occur as clause initial, medial, and final without losing the

identity of both entities. The analysis of this study reveals that Sebuano similes occur

in two forms—simple or complex sentences. It is noteworthy to mention that unlike

metaphors where comparisons may be drawn even in phrasal categories, in all

instances of Sebuano similes, there are no phrasal categories but are exclusively of

clausal categories.

(a) Simple Sentences. Similes in simple sentences employ images where comparison

is adequately achieved without any further addition of dependent clauses. These

are often expressed with LMOC placed either clause initially or medially.

Comparison of state-of-being occurs with two simple, dependent clauses— one

of which may be a verbal phrase, combined with a verbal phrase; or an adjectival

phrase combined with an adjectival phrase; or a verbal phrase combined with an

adjectival phrase, each of which is explained in the table below.

Table 9. Simile expressions (Simple Sentences)

(1) Ug sama kaguba1 Sa karaan2 natong banggira3

Ang balikas4 ni Papa: “Litse! Yawa! Wala ka bay laing ipakaon nako, Kung dili permi na lang pansit5?” (Pansit,

Adonis Gesta Durado, 3rd INWW-v3-1996) ANALYSIS TRANSLATION

LMOC CLAUSE1 CLAUSE2 Sama sa karaan natong Kaguba..ang 1from RW guba- destroyed

-clause initial banggira balikas ni Papa or wrecked 2old 3kitchen -‘as’ -adjectival phrase -adjectival phrase counter 4cussing expression

-form compared -postponement 5kind of dish

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(2) Nabilin1 kong nag-inusara2. Ang gibulhot

3 nakong aso sa sigarilyo

4 karon walay kalainan niadtong mubong

5

higayon6.

(Mubong Higayon, Glenn Tek-ing Munez, 18th INWW-v18-2011) Walay kalainan Ang gibulhot nakong mubong higayon 1left behind 2alone 3huffing

-clause medial aso sa sigarilyo -adjectival phrase 4cigarette 5short 6chance to

-‘no difference’ karon do something -verbal phrase

-state-of-being

compared

(3) Halos1 walay kalainan

2 sa pagsulat

3 ug balak

4 ang pagabog

5 ug Tikling

6.

Anus-a7 maplastar

8 ang papel

9 ug lapis

10, naa ra sila sa palibot

11.

(Mga Pistehang Tikling, Mark Anthony Daposala, 18th INWW-v18-2011) Halos walay sa pagsulat ug balak ang pagabog ug 1almost 2difference 3writing

kalainan -verbal phrase tikling 4Sebuano poem 5drive

-clause initial -state-of-being -verbal phrase away 6Bird 7determiner for

-‘almost no compared ‘when’ 8placed 9paper

difference’ 10pencil 11surroundings

In the first example, the line from Durado’s Pansit (3rd INWW-v3-1996),

‘Samasa kaguba sa karaan natong banggira ang balikas ni Papa’ two images are

compared by the writer through two adjectival phrases with their images and

descriptions. In this case, description of banggira, or kitchen counter is given by the

persona as old. In the same way, another adjectival phrase is compared to this entity,

an image of balikas described by the persona as destroyed or wrecked. The simile is

signaled by the lexical marker of comparison, ‘sama’ placed clause initially. The

persona conveys the extent of the curses coming out from the mouth of his father

every night towards his mother because of the only dish she is capable of serving to

to her family, pansit. To the persona, it seems, these curses are like that of an old

kitchen counter, messed up, dirty, wrecked and useless.

The second example, the lines from Munez’s Mubong Higayon (18th

INWW-v18-2011), ‘Ang gibulhot nakong aso sa sigarilyo karon, wala’y kalainan niadtong

mubong higayon’

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two images are compared by the writer through a verbal phrase and an adjectival

phrase. The simile is signaled by the lexical marker of comparison, ‘wala’y

kalainan,’ or ‘no difference,’ placed clause medially. In this case, the verbal phrase

includes the action the persona does towards the entity, cigarette, puffing smoke from

it; which, in the same way is an image comparable to an adjectival phrase, mubong

higayon or the brief chance, in this poem, with the prostitute he had sex with. Like

smoke that eventually diminishes in seconds, there is no difference at all with that

brief chance that he shared with someone who once satisfied his sexual needs.

In the third example, the line from Daposala’s Mga Pistehang Tikling (18th

INWW-v18-2011), ‘Halos walay kalainan sa pagsulat sa balak ang pagabog ug tikling’

show two images are compared by the writer through two verbal phrases. The simile

is signaled by the lexical marker of comparison, ‘halos wala’y kalainan,’ or ‘almost

no difference,’ placed clause initially. In this case, the first constituent is a verbal

phrase which includes the action pagsulat ug balak or writing of an ode or poem,

which, in the same way is likened to the second verbal phrase, the act of driving

away birds. Whenever the paper and pencil is ready to be used for writing, words,

like the birds, are just in the surroundings, ready to be employed in writing.

(b) Complex Sentences. Unlike simile in simple clauses, similes in complex

sentences often yield more specific images and detailed descriptions of

entities for comparison. The LMOC is often placed clause medially or

finally. Comparison of state-of-being or form occurs with one independent

clause and one dependent clause, one of which may be a verbal sentence

combined with verbal phrase or an adjectival sentence with an adjectival

phrase.

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Table 10. Simile expressions (Complex Sentences)

(1) Gaksa1 ko paghugot

2Sama sa lastikong

3Mipungpong

4 sa imong buhok

5. (Balaki

Ko ‘Day Samtang Gasakay Tag Habalhabal, Adonis Gesta Durado, 3rd

INWW-v3- 1996)

ANALYSIS

LMOC IC DC TRANSLATION

Sama sa Gaksa ko paghugot Sa lastikong 1embrace 2tightly

-clause medial -independent clause mipungpong sa imong 3rubber band

-verbal sentence buhok 4clustering of -state-of-being compared -dependent clause hair for the

-verbal phrase purpose of

holding it

together 5hair (2) Dili ‘sab ko makatulon1 Sa akong laway2 nga mitadlihay3, Nagtubod4, nagdagayday5 Sa akong tutunlan6. Daw susama7 sa dakong

suba8 nga Nagalikos9 sa taliwala10 sa kapatagan11 sa awa-aw12 (Dili ko Katulon, Hermenigildo M. Dico, 17th INWW-v17-2010)

Daw + susama Sa akong laway nga sa dakong suba nga 1the act of

-clause medial mitadlihay, nagtubod, Nagalikos sa taliwala ingesting 2saliva nagdagayday sa akong sa kapatagan sa awa- 3no available tutunlan aw translation -independent clause -independent clause 4oozing

-verbal sentence -verbal sentence 5streaming -state-of-being compared 6throat 7alike

8river 9encircle 10midst 11plains

12wilderness

As shown in the first example, Durado’s Balaki Ko ‘Day Samtang Gasakay

Tag Habalhabal (3rd INWW-v3-1996), the line ‘Gaksa ko paghugot sama sa lastikong

mipungpong sa imong buhok,’ depicts comparison drawn from a verbal sentence and an

adjectival phrase. The simile is signaled by the LMOC, ‘sama,’ placed clause

medially, which is equivalent to English ‘as.’ The verbal sentence includes the action

to be done towards the persona, which is gakos, or hug and its adverb, paghugot or

tightly. This is likened to the image of a rubber band or lastiko which the persona

describes as something that holds the woman’s hair together. Like the hair held

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tightly together, the persona asks for a tight embrace from behind by the woman who

is riding his habalhabal.

In the second example are lines from Dico’s Dili ko Katulon (17th INWW-

v17-2010),

‘Dili ‘sab ko makatulon sa akong laway nga mitadlihay,

nagtubod, nagdagayday sa akong tutunlan. Daw susamasa

dakong suba nga nagalikos sa taliwala sa kapatagan sa awa-

aw.’

The simile is achieved through a comparison drawn by an adjectival sentence

combined with an adjectival phrase. The simile is signaled by the LMOC, ‘daw

susama,’ which denotes a combination of ‘as’ and ‘seems.’ The first constituent is an

adjectival sentence which descriptively describes laway or saliva, oozing and

streaming through a person’s throat. This image is likened to an adjectival phrase—

that of a suba, or wide river, that is described to encircle plains in the midst of

wilderness. This inability to ingest symbolizes the difficulty he has in conveying his

messages like they are encircling in the wilderness and cannot find their way out, just

like his own saliva streaming in his throat.

The comparisons of entities do not largely differ when depicted through

simple or complex sentences, only that the latter is more specific. In terms of use of

LMOC, varieties such as sama,daw sama, daw susamaas or simply daw; mura with

several varieties such as mora, murag, morag or mora’g; or the aiding of lexical

markers pareho or wala’y kalainan, all these varieties are based on spelling

conventions to a writer’s choice and do not fundamentally exhibit differences in the

similes based on its use.

SEBUANO HYPERBOLE. Hyperbolic expressions display outrageous

exaggeration that emphasizes a point. These expressions add color and depth to an

entity being described.

Sebuano Hyperbole Structure. Sebuano hyperbolic expressions, generally mark

the figurativeness of expressions in poetry through expressions that yield little or no

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possibility of occurrence. This is achieved from strategies of linguistic encoding of

images in interesting manners.The analysis of this study reveals that Sebuano

hyperbolic expressions occur in two forms—verbal and non-verbal sentences,

particularly adjectival, and most often determined by lexical markers of improbability

and exaggeration.

(a) Verbal Sentences. The deviance from the linguistic code is prevalent in

hyperbolic expressions displayed through verbal sentences. In this type of

sentence, the head of predicate is a verb and is aided by a complement,

usually a locative marker. The exaggeration lies on the notion that the image

employed in the locative marker or the image when combined with a verb

yields the overall expression little or of improbable occurrence.

Table 11. Sebuano Hyperbolic expressions (Verbal sentences)

(1) Sa dihang namitoon1 ang atong mga mata

2Milinog

3 ang akong dughan

4.

(Eros-Thanatos-Paltos, Greg Fernandez, 13th INWW-v13-2006)

ANALYSIS

TRANSLATION

VERB

COMPLEMENT

Milinog

Ang akong dughan

1from RW bitoon-star

- verb is meteorological -locative marker 2Eye 3from RW linog-

phenomena -denotes little or improbable earthquake, seismic

occurrence with locative marker and pertains to a high intensity directed

towards the heart

-state of the heart is intensified

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(2) Wala koy nabati1 Kundi ang pagban-id

2 Sa

imong sanina3sa nag aso-aso

4 kong panit

5.

(Kilometro Beinte Sais, Mary Louise Dumas, 14th INWW-v14-2007) Nag aso-aso

-verb is non-usual

occurrence to locative

marker

Kong panit -locative marker -denotes little or improbable

occurrence with locative marker and

pertains that skin is steaming because

the heat of the sun is to a high extent

1Feel 2from RW ban-

id-ban-aid 3Clothing 4from RW aso-steam,

smoke 5Skin

In the first example, Fernandez’s Eros-Thanatos-Paltos (13th INWW-v13-

2006), the line ‘Sa dihang namitoon ang atong mata, milinog ang akong dughan’ yields a

hyperbolic expression such that the verb nilinog, occurs with the complement

locative marker, the image dughan, or heart, which is an unlikely occurrence. This

denotes the extent of the emotions of the persona which is too high, a natural

phenomenon, linog or earthquake, is already appropriate to describe it. In this poem,

the lover seeks the attention of the person he loves that the moment their eyes meet,

his emotions is no longer easy to contain inside him.

(b) Non-verbal Sentences.Unlike verbal sentences which occur with verbs and

complement locative markers, non-verbal sentences in this form of

hyperbolic expressions are most often expressed in adjectival sentences—

where the head of the predicate is an adjective to describe the image being

employed. In such cases, there is an aiding of quantitative determiners like

adjectival pronouns or specific numerical determiners to exaggerate or

intensify a certain entity that will yield little or no possibility of occurrence.

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Table 12. Sebuano Hyperbolic expressions (Non-verbal Sentences)

(1) Palihug ayaw nako isnaba1

Ang tanan2 na bitawng metaphor Sa langit

3 imoha

4. Always, Don.

(Once Upon a Time sa Kinabuhi ni Adonis, Adonis Gesta Durado, 3rd INWW-v3-1996) ANALYSIS

TRANSLATION

PREDICATE NOUN PHRASE Ang tanan na bitawng metaphor sa langit Imoha 1 Ignore 2All

-lexical 3Heaven 4Yours

-quantitative determiner

-adjectival pronoun

-superlative quantity

-denotes little or improbable occurrence because

of the encompassing of all that there is of the entity

being described (metaphor)

-no longer measurable due to large extent

(2) Nidupa1 ug nagdumili

2 ang gialimongawan

3 sa alimokon

4 nga kamatuoran

5

nga gihinay6 og hubo

7 sa liboan

8 ka mga mata

9

(Ang Giyagyag sa Pasundayag, Eric E. Tuban, 18th INWW-v18-2011) Liboan ka mga mata 1 Outstretch 2

-lexical Refrained

-specific quantitative determiner 3Absentminded -adjective 4Dove 5 Truth

-superlative quantity 6Slowly 7 Undress, -flexible term for thousands and more (being libo Unravel 8 from RW

as thousand) libo- thousand, 9

-difficult to measure due to large extent Eye

In the first example, Durado’s Once Upon a Time sa Kinabuhi ni Adonis (3rd

INWW-v3-1996) in the line ‘Ang tanan na bitawng metaphor sa langit imoha’ shows that

the adjectival phrase employs the adjectival pronoun or lexical marker tanan,

encompassing all that there is, of the image, metaphor. In this poem, the persona

conveys that all the metaphors of the heavens have already belong to the person he

loves; and for which, he asks the person he loves to not ignore him.

The second example, Tuban’s Ang Giyagyag sa Pasundayag (18th INWW-

v18-2011), the lines

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‘Nidupaug nagdumili ang gialimongawan

sa alimokon nga kamatuoran nga

gihinayog hubo sa liboanka mgamata,’

exhibits that the adjectival phrase employs the adjectival pronoun, liboan , which is a

specific numerical value used as a lexical marker. This denotes a large extent of a

number that is difficult to measure. The persona in the poem conveys the notion of

the truth being unraveled by a high number of spectators that it can no longer be

denied.

Although in Sebuano poetry, hyperbole is not usually employed, the

examples above present the interesting linguistic strategies employed by the writer

for images to yield exaggeration or little possibility of occurrences that allow readers

to even explore the complexities of the poems.

SEBUANO ONOMATOPOEIA. Onomatopoeic words are words that are (1) formed from natural sounds and (2) are used and sometimes adapted, including

visually, to suggest a sound (McArthur, 1992).

Sebuano Onomatopoeia Structure. The lines reveal that the onomatopoeia

expression is achieved through lexical deviation or the invention of new words where

the poet exceeds the normal resources of the language (Nofal, 2011). The analysis of

this study reveals that in Sebuano Onomatopoeia, new word forms are created—

either through the adaptation of the natural sounds produced by the image, or often

with repetition of a morpheme to verbalize occurrences in reference to the image the

writer tries to portray. These are encoded as verb and head of the predicate in verbal

sentences while some may also be used as an exclamation and stand alone.

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Table 13. Sebuano Onomatopoeia

(1) Magsuwat1 ko, ug sa di madugay2 ang mga tinta3 manglupad4. Kini modasdas

padulong5 sa panganod6, (Labyog, Cindy Arranguez Velasquez, 16th INWW-v16-2009)

ANALYSIS TRANSLATION

Modasdas 1Write 2Long

-repetition of morpheme das 3Ink 4Fly 5Into -lexical deviation 6Clouds

-new word form that refers to the motion of the kite as it flies in the sky

against the wind

(2) Kalit1 kong katingala

2 sa alingag-ngag

3 pa lamang sa akong pag-am-am

4

kaniya: ang iyang agulo5 di masipra

6

(Mubong Higayon, Glenn Tek-ing Munez, 18th INWW-v18-2011) Pag-am-am 1suddenly

-repetition of morpheme am 2wondered

-lexical deviation 3palate 4appease

-adapted from natural sound 5groan 6label

-new word form that verbalizes the masticating of something; the sound

made when the lower and upper lip make contact with each other. (3) Nagbarag

1 ang mga botilya

2.

Nagbulabula3 akong tina-i

4.

Usa lang ka tunob5 tu’a ko, Splak! Naghaloka6 sa pita7. (El Hombre, Mark Anthony Lapuz Daposala , 18th INWW-v18-2011)

Splak 1stagger 2bottles

-adapted from natural sound 3bubbling

-lexical deviation 4intestine 5step -new word form that verbalizes an impact from a falling motion 6came in contact

with 7mud

In the first example, the line, ‘Kini modasdas padulong sa panganod’, in

Velasquez’ Labyog (16th INWW-v16-2009) employs a new word form, modasdas

which emphasizes the motion of the image kite as it flies in the sky against the wind.

Although there is no available meaning in the Sebuano language, the word becomes

intelligible as it collocates with the other images and thus yield the overall expression

figurative.

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In the second example, the line, ‘Usa lang ka tunob tua ko, Splak! Naghaloka sa

pita’ in Daposala’s El Hombre verbalizes the impact of the fall of the persona towards

the mud or pita. ‘Splak,’ is a new word form such that there is no available meaning

of it in the Sebuano language. This word also stands on its own and is used as an

exclamation. However, it only becomes intelligible when understood in context

because the writer tries to verbalize the motion of his fall as he is already intoxicated

from drinking too many liquors.

The analysis of this study in total, reveals that the figurative expressions

under the category onomatopoeia displays the writer’s creativity as new word forms

spring from the desire to verbalize an important action or event. Even the adaptation

from the natural sounds may also bring an emphasis and yield the expressions

figurative.

SEBUANO SYNECDOCHE. Synecdoche expressions display a

comparison to which a word, meaning a part of something, stands for a whole of that

thing being described. It can also be used vice versa where a whole stands for just a

part.

Sebuano Synecdoche Structure. The analysis of this study reveals that

Sebuano synecdoche generally mark the figurativeness of expressions in poetry

through objects, anatomical and conceptual images encoded in such a manner that a

certain image is detached from a bigger body but may stand for a whole. It is

interesting how an expression yields figurativeness only even through one or two

images which are already capable in capturing vivid representations. In many

instances, a figurative expression under this category is depicted through the use of

anatomical images or of eponyms, as noun phrases or complements, in verbal

sentences.

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Table 14. Sebuano Synecdoche (Anatomical Images)

(1) Kurata1 ang mga kalimutaw

2 sa mananan-aw

3

(Sirkiro, Cindy Velasquez, 16th INWW-v16-2009) ANALYSIS TRANSLATION

PREDICATE NOUN PHRASE

Kurata Ang kalimutaw sa manan-aw 1from RW kurat-

-complement startle 2Eyeball -eyeball cannot be detached from the body in this sense 3Spectators

since eyeball alone cannot be startled

-detached from a bigger whole and represents the entire

person’s focus (2) nakit-an

1 ko sa akto

2 ang duha

3 ka yagpis

4 nga anino

5

nagbinayloay6 sa laway

7 singot

8 ug uban pang likido

9.

(Ang Sala sa Bintana, Eric Tuban, 18th INWW-v18-2011) Nagbinayloay Anino nagbinayloay sa laway, singot ug uban pang 1from RW kita—

likido see 2act 3two -complement, anino is conceptual image 4slender 5shadow

-shadow cannot be detached from the body in this sense 6from RW since a shadow alone is not capable of exchanging baylo—exchange

anatomical liquids 7saliva 8sweat -detached from a bigger whole and represents an entire 9liquids

person

In the second example, the lines

‘Nakit-an nako sa akto ang duha ka yagpis nga

anino nagbinayloay sa laway, singot, ug uban pang likido’

are from Tuban’s Ang Sala sa Bintana (18th INWW-v18-2011). This poem talks

about betrayal of the persona’s partner to him; he witnesses by the window his

partner having an intimate sexual experience with another person. The writer conveys

this picture through the use of a conceptual image, anino or shadows, as complement

to the verbal sentence, wherein he indirectly says two individuals are exchanging

human liquids such as sweat, saliva, and others. The deviation lies on the idea that

two shadows are used as complements of this action; yet, they are detached from the

bigger whole which is the human body, itself. Thus, the overall expression yields

figurativeness.

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Table 15. Sebuano Synecdoche (Eponyms)

(3) Dinhi nato tawgon1 sila si Merkuryo2, San Miguel3, og ang mga red horses4 aron maoy ikaduwa5

ta sa atong pagkabata6. (Mountain Top, Noel D. Rama, 4th INWW-v4-1997)

ANALYSIS

TRANSLATION

PREDICATE NOUN PHRASE Tawgon si Merkuryo,

1from RW tawag- call

San Miguel, og ang mga red horses 2Mercury present in high-

-complements fructose corn syrup (HFCS)

- Merkuryo, also found in beverage

San Miguel, og ang mga red horsesare products 3San Miguel eponyms for famous beer brands and beer Brewery, largest producer of

content beer in the Philippines 4Red

-represents Philippine beverages Horse beer, famous beer

-detached from a bigger whole brand under San Miguel

Brewery 5from RW duwa-

play 6Youth

It is also worth mentioning that there are instances when the writer employs

images through eponyms, or for whom or which something is believed to be named

after.

The synecdoche expression in the third example, ‘Dinhi nato tawgon sila si

Merkuryo, San Miguel og ang mga Red Horses’ from Rama’s Mountain Top (4th

INWW-v4-1997), uses proper nouns such as Merkuryo, San Miguel and Red Horses

as complements to the verb tawgon. Here, the writer uses these images to represent

the bigger body, which are beverages as the persona and the people with him want to

be befuddled and reminisce their childhood while they stay at the mountain top.

Merkuryo comes from the ingredient Mercury which is present in high-fructose corn

syrup (HFCS) and in beverage products. San Miguel comes from the largest producer

of beer in the Philippines, San Miguel Brewery while Red Horse comes from another

beer brand under San Miguel Brewery. The creative reference to such images

detached from their bigger whole yields an interesting overall figurativeness of the

expressions.

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Emerging Sebuano Figurative Language Categories. The analysis of this

study reveals that although there are many figurative expressions present in the

Sebuano poetry section of the proceedings of INWW, Volumes 1 to 20 that fall under

the traditionally-introduced categories, there are, however, expressions that defy

categorization by the mentioned categories. In the following discussions, the

researchers presents these categories first based on the images used, then the

linguistic structure of how these images are encoded and yield figurativeness.

Emerging Sebuano Figurative Language Categories’ Structure. The

analysis of this study reveals that images employed in the expressions under the

Sebuano Figurative Language Category are encoded and collocate differently in

terms of linguistic structures. The researchers believe that these defy categorization

by the mentioned categories such that the use of images as well as their linguistic

structures simply do not fall in any manner of those in Metaphor, Personification,

Simile, Hyperbole, Synecdoche and Onomatopoeia.

First, there is a good number of expressions where images change in terms of

animation signaled by the animate verb assigned to these images or by the animate

characteristic assigned to these entities (e.g. Magsuwat ko ug sa di magdugay ang

mga tinta manglupad). Second, some of the expressions in the category employ

images that change in state based on how they collocate with the verb in the

expression assigned to them (e.g. Kahilom ug katawa nga miawas sa atong mga

baba). The researchers classify these expressions accordingly: Animation and

Change-in-State, respectively. In the following discussions, each observation is

described and supported with tables for easier comprehension.

(a) Animation. There is a prevalent use of inanimate entities where an image’s

animation is signaled by the animate verb assigned to it. These usually occurs

with a noun phrase and a verb which together, yield verbal sentences. These

verbal sentences are either passive or active dependent on the presence of an

actor subject. Unlike personification which describes a non-human form,

thing or abstraction as if it were a person, in this category, images, usually

temporal and conceptual, are assigned actions that are not exclusively

human. Such are the following:

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Table 16. Sebuano Figurative Language Category (Animation)

(1) Magsuwat1 ko, ug sa di madugay

2 ang mga tinta

3 manglupad

4.

(Labyog, Cindy Velasquez, 16th

INWW-v16-2009) ANALYSIS

NOUN VERB ANIMATION TRANSLATION

PHRASE

Tinta Manglupad tinta—lupad 1Write 2Long 3Ink

-n. as act. -v. compatible to animate entities -object assigned 4Fly

subj. but not to humans animate action

-aided by adv. di madugay (2) Unya ang ngilo1 nga agi2 sa zipper sa imong maleta3nidagit

4sa atong

5 mga

kahilom6. (pagkatagak, Glenn Tek-ing Munez, 18th INWW-v18-2011)

ANALYSIS

NOUN VERB ANIMATION TRANSLATION

PHRASE

ngilo sa Nidagit ngilo sa zipper-- 1The sensation

zipper -v. compatible to animate entities nidagit excited in the

-n. as act. but not to humans -object assigned teeth by grating

subj. animate action sounds 2Track

3Suitcase 4Snatch

5Our 6Silence

In the second example, the lines

‘Unya ang ngilo ngaagi sa zipper sa imong maletanidagitsa atong mga kahilom’

from Munez’Pagkatagak (18th INWW-v18-2011) uses the conceptual image, ngilo

sa zipper, or the sensation excited in the teeth by grating sounds from the suitcase’s

zipper, as an entity responsible for the loss of silence among the persona and his

loved one in the poem. The actor subject is ngilo; despite that this is a conceptual

image, it is animated through the action it does which is to grab silence like a prey. In

the poem, the writer relates the lack of courage the persona has to ask his lover of his

questions that remained unanswered. Even with the separation that is about to happen

between the two of them, this lack of courage is palpable. But, at the end of this

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painful event, the sensation created by the suitcase’s zipper grabs this silence away

from them and it is only distance between them that he is assured of. This action

assigned to an inanimate entity animates the overall expression and yields this

expression figurative.

(b) Change-of-State

(b.1) Full Change-of-State. Full change-of-state in the images is another

prevalence in the figurative expressions under Sebuano figurative language. Sebuano

figurative expressions under this category are usually verbal sentences which

comprise a noun and a predicate, having the verb as the sentence head. The verb

usually employed in the predicate signals the full change-of -state of these images

such that these verbs are most often associated to fluids or any entity that flows freely

(e.g. tugkaron, nagtulo, giluwa, humod).The focus is moved towards the images

when an entity either is the receiver of the action or the doer of the action. The

expressions then appear as though the image employed is of a state that has been

changed fully. It is worth mentioning that many of the images belonging to the noun

or adjectival phrases of this category are conceptual images. For instance:

Table 17. Sebuano Figurative Language Category (Partial change-of-state)

(1) Lawom1 ang kagabhion

2 tugkaron

3kay dinhi kita manukad4 sa abaga5 ning

bukid6. (Mountain Top, Noel D. Rama, 4th INWW-v4-1997) ANALYSIS TRANSLATION

ADJ PHRASE/ VERB CHANGE-OF-STATE

NOUN PHRASE Lawom ang tugkaron Kagabhion 1Deep 2Night 3Touch

kagabhion -v. compatible -conceptual image to fluid the bottom 4Set out

and exclusive to -full change-of-state 5Shoulder 6Mountain

bodies of water -receiver of action

-imitates the state of the ocean

or any body of water

- is deep and fluid since its

bottom is yet to be touched

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(2) Dinhi mas lanog1 ang hunghong2 sa mga botelya3 kaysa kahilom4

ug katawa

5 nga miawas

6 sa atong mga baba

7.

(Mountain Top, Noel D. Rama, 4th INWW-v4-1997) Kahilom ug katawa

miawas

kahilom ug katawa 1Resonant 2Whisper

-v. compatible -conceptual image to fluid 3Bottle 4Silence

and exclusive to -full change-of-state 5Laughter 6from RW

entities that -doer of the action awas—flow 7Mouth

flow -imitates the state of saliva or

other fluid coming from the

mouth

-is fluid since it flows

(3) Ug nagtulo1 na gyud ang kaulaw

2 sa akong agtang

3

(Pakang, Errol A. Merquita, 7th

INWW-v7-2000) Kaulaw Nagtulo Kaulaw

1Drip 2Shame

-v. compatible -full 3Forehead

to entities that

-conceptual image to fluid

are in liquid

form -doer of action

-imitates the state of sweat that drips from the forehead

In the first example, the line, ‘Lawom ang kagabhion, tugkaron’ from Rama’s

Mountain Top (4th INWW-v4-1997) denotes the image of the night as though it is a

body of water that receives the action, tugkaron. In the poem, the writer uses the

image, kagabhion or night with the verb, tugkaron, as though the night is very deep

and will last for a long time which will allow the persona and his other companions

to relish the night even more.

In the second example, the line ‘Mas lanog ang hunghong sa mga botelya kaysa kahilom ug katawa nga miawas sa atong mga baba,’ from the same poem and author

relates the idea of two conceptual images, kahilom ug katawa, or silence and laughter

as more resonant than the whispers of the bottles (included in personification). These

nouns become the doer of the action, miawas, or flow. The idea of having these

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conceptual images collocating with the verb which is compatible to entities that are

of fluid state makes the nouns fully change in state.

In the third example, Merquita’s Pakang (7th INWW-v7-2000), the line, ‘ Ug

nagtulo na gyud ang kaulaw sa akong agtang’ reveals the experience of the persona as

he is constantly verbally bullied by the kids around their community because he is

uncircumcised. The noun, which is the conceptual image, kaulaw or shame, becomes

the doer of the action, nagtulo, a verb compatible to entities that are again, fluid. This

collocation fully changes the noun’s state.

The above expressions employ images that seem to imitate characteristics of

fluids when they occur with actions. These actions are usually compatible with

entities in the state of liquid. There is no evident differences as to the figurativeness

conveyed whether these images are treated as doer or receiver of the action. These

expressions reveal a very creative and artistic use of images by the writer through

defying the conventional ways of describing the actions it take or the actions taken

upon it; hence, the overall figurativeness is achieved.

(a.2) Partial Change-of-State. Partial change -of-state, in addition to images

that change in state fully, include Sebuano figurative expressions wherein an image

maintains its state or form but collocate with verbs not usually associated with it.

Like those under the first category mentioned, figurative expressions under this

category occur in verbal sentences which comprise a noun and a predicate, having the

verb as the sentence head. However, the deviance lies on the notion that the receiver

or doer of the actions employed are conceptual and anatomical.The expressions then

appear as though the image employed is of a state that has been changed partially

only because of the action done towards it. In addition, it is again worth mentioning

that many of the images belonging to the noun or adjectival phrases belong to the

conceptual images category.

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Table 18. Sebuano Figurative Language Category (Partial change-of-state)

(1) ug ang pagbaton1 nato’g kaugalingong2 pamilyang3 bitbitbitbiton4

(Unsaon Pagbonsai ang mga Damgo, Orlando Cajegas, 6th INWW-v6-1999)

ANALYSIS

TRANSLATION

ADJ PHRASE/ VERB CHANGE-OF-STATE

NOUN PHRASE

Kaugalingong Bitbitbitbiton Pamilya

1Possess 2Ownself

pamilyang -v. compatible to -conceptual image to an 3Family 4from RW

entities that may be entity that may be carried bitbit—handcarry

carried by the hand by hand (unspecified);

yet the attributes of this

entity is maintained

-partial change-of-state

-receiver of action

(2) wa ko damhang1 dinhi sa pinakasuok2 nga kabanikanhon3 matugotan4nang motul-

id5 ang kasingkasing

6 kong dugay

7 nang nanggahi

8 sa pagkatikuko

9.

(Kilometro Beinte Sais, Mary Louise Dumas, 14th INWW-v14-2007) Kasingkasing motul-id; nanggahi Kasingkasing 1Expect 2Cornermost

sa pagkatikuko -conceptual image to an 3Dry field 4Permit -v. compatible to entity that may be 5Straighten 6Heart

entities that is straightened 7For long 8Harden visible to the eye -partial change-of-state 9Curl up

-doer of the action

In the first example, Cajegas’ Unsaon Pagbonsai ang mga Damgo (6th

INWW-v6-1999), the phrase, ‘kaugalingongpamilyang bitbitbitbiton’, conveys the idea

of family as though the conceptual image, pamilya, may be carried by hand. In this

case, the image is the receiver of the action, of which does not usually collocate with

it. The state of the entity, pamilya, is partially changed through the action it receives;

although, this entity’s attribute is maintained. In the poem, the writer talks about the

difficulty of raising a family of whom you will be responsible of like a thing held

constantly by hand.

In the second example, the lines from Dumas’ Kilometro Beinte Sais (14th

INWW-v14-2007),

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‘Wa ko damhang dinhi sa pinakasuok nga kabanikanhon matugotan nang motul-id ang

kasingkasing kong dugay nang nanggahi sa pagkatikuko’

relates a persona’s unexpected experience of learning to love someone again after a

long time of putting barriers to his feelings. He portrays this event through an

anatomical image, kasingkasing, which he describes to take the action of being

straightened after years of being curled up. In this case, the state of the entity,

kasingkasing is partially changed through the action it does; although, the entity’s

attribute is maintained, or its state of being a heart is maintained.

The aforementioned Sebuano figurative expressions under the category

Sebuano Figurative Language employs images which are interestingly portrayed in

different strategies through the use of verbs that are not usually compatible to

conceptual or anatomical images. This results either to a state of animation of

inanimate entities or to a change of state of inanimate entities. These cannot be

simply assumed to fall under any of the categories because this occurrence is of

prevalence where there is figurativeness, without attributing it as a person, or taking

it in comparison to another entity, or conveying it an exaggerated manner, or using it

to represent a whole, and others.

CONCLUSION AND RECOMMENDATIONS

The researchers take the position that these figurative expressions, in

accordance to how images are encoded lexically, semantically and syntactically, truly

lead readers to think in synthesizing ways. These figurative expressions allow the

readers to draw new experiences. Through the combination and recognition of

experiences the poems have allowed the readers to feel, observe or imagine the world

in a new perspective. More than just making non-human images human; more than

comparisons and exaggerations, adaptation of natural sounds, and others, any writer

who endeavors in turning his collected experiences to poems, further explores the

encoding of images that is of relevance and would artistically and inventively draw

relationships among them.

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This study emboldens anyone who would like to create similar research and

contribute to the body of criticism of Sebuano literature, particularly, of Sebuano

poetry. To enhance and further develop this study, the researcher recommends that a

further exploration on the intersectionality of an expression displaying two or more

figurative language categories. For instance the line, ‘Ang baba sa yuta muabli daw

halas kini nga gutom (Pahiluna, Crisanto Canon, 9th INWW- v9-2002) displays both a

personification expression and a simile expression such that the an anatomical image

baba is assigned to a non-human entity, yuta, while that image is being compared to

that of a snake’s mouth ready to devour a prey. This intersectionality of figurative

language categories may also be further explored as it will add to the literature of

Sebuano poetry’s figurative language; Also, a further exploration on the Emerging

Sebuano Figurative Language Categories through other Sebuano poetry materials or

further Sebuano poems present in the succeeding proceedings of the Iligan National

Writers Workshop.

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